The State of the Field: Contemporary Native American Art

Ceilon Hall Aspensen

Doctoral Student

Montana State University

October 27, 2014

Aspensen 2

In assessing the state of the field of contemporary American Indian art, the most astounding discovery I have made thus far is that it is not a “field” as far as “TheArt

Bulletin” is concerned. There are four “Art Bulletin” categories into which contemporary

American Indian art might fall: Art of the United States, Contemporary Art, Art of the

Twentieth Century, and Native American Art.1 However, the only category that Art

Bulletin seems comfortable placing contemporary American Indian art is Native

American Art, even though the span of Native American art in total can be tens of thousands of years. This might lead one to assume that contemporary American Indian art is not a legitimate category that deserves its own space at all, but I will put forth that it is indeed, and one to which more than a dozen academics have been contributing solid material for over a decade. One possible reason for the ambiguity of this subject may be as simple as the broader field of art history not having created a space for it yet, and there are probably many reasons for not settling on a single category yet, which could possibly lie in our discomfort with where to place American Indians as persons. Nevertheless, I leave it to actual art historians to sort out the reasons for the omission. However, this difficulty is one that rests solely within the field of art history, and not with the authors who have been writing about the Native Americans who have been making contemporary art for quite some time now. It is my hope that this paper will not only assist in establishing a solid and clearly defined space in the field of art history for contemporary

American Indian art, but will also provide a thorough overview as to the scholarship contained within the field.

1 College Art Association, “Dissertations,” http://www.caareviews.org/dissertations (accessed October 5, 2014). Aspensen 3

Before we can fully enter into this discussion, let us first do a little housekeeping concerning terms indigenous to the field of contemporary American Indian art. Firstly, there are several ways of referring to American Indians, including American Indians,

Native Americans, indigenous peoples, Indians (depending on the setting and context), or by their specific tribal affiliation (which is my general preference, if I know it). My colleagues in Native American Studies tend to use the terms interchangeably (as will I throughout this paper).

Secondly, it is important to know what American Indian Art is, as it is the only art genre in the United States governed by legal definitions. As per the Indian Arts and

Crafts Act of 1990, Indian art is only that which is made by an enrolled member of a federally or state recognized tribe.2 This law only applies in the United States, but it provides an excellent working definition of what American Indian art is: art made by

American Indians. This can clear up any ambiguity concerning whether American Indian art might include art that depicts Native Americans that is created by non-indigenous artists—it is not, plain and simple. Additionally, it also can also clear up an area of concern that may cloud the issue of categories: American Indian art can be contemporary—made today—and does not have to be of any certain style that “looks”

Native American. If an enrolled member of a federally or state recognized tribe made it, then it qualifies. Though there may or may not be similar legislation in other countries in the Americas that specifically designates what Native American art is, this rule could be used to shore up the category if art historians feel more comfortable having a set criteria for determining such.

2 Indian Arts and Crafts Board, “The Indian Arts and Crafts Act of 1990,” http://www.iacb.doi.gov/act.html (accessed October 5, 2014). Aspensen 4

Having now set some ground rules as to what constitutes contemporary American

Indian art from a Native American perspective and legal definition, let us explore who has been publishing and what has been published in this field. In an exhaustive search through Art Bulletin, JStor, Art Abstracts, Project MUSE, as well as Amazon.com

(whose database is so comprehensive that public libraries use it when their own internal database searches fail to produce desired results), I have identified the following topics around which academics have been writing concerning contemporary American Indian art: artist specific; genre specific; region specific; tribe specific; commodification of contemporary American Indian art; display, collectors and collections; intersectionality in visual culture; representational and identity politics; and shaking up the field of art history.

Within these topics, the following authors have dominated the space: Bill Anthes,

Janet Catherine Berlo, Lois Essary Jacka, Nancy Mithlo, David W. Penney, Ruth B.

Phillips, Jack Rushing, III, Lowery Stokes Sims, Paul Chaat Smith, Charlene Touchette,

Edwin L. Wade, and Kay WalkingStick. Of those listed, only four are art historians (Janet

Catherine Berlo, David W. Penney, Ruth B. Phillips, and Lowery Stokes Sims); two are anthropologists (Nancy Mithlo and Edwin L. Wade); one is an American studies scholar

(Bill Anthes), one falls within the realm of Native American studies and is an associate curator but has no credentials (Paul Chaat Smith); one is a working artist with an MFA

(Kay WalkingStick), and one I will classify as “enthusiast” until I am able to track down her credentials or expertise, which are nowhere to be found, despite her numerous publications (Lois Essary Jacka). Of all the authors in this list, Jacka is the only one whose work might not be considered scholarly because her work has not been published Aspensen 5 in any academic journals or museum retrospectives (although I have submitted an inquiry to her regarding her experience and education related to the field in which she has published). Additionally, Paul Chaat Smith has no credentials, but is widely regarded as an expert on Native American art, and holds a curatorial position at the National Museum of the American Indian. Regardless of credentials, all of these artists created space for their work by publishing outside of the field of art history; and had they not, we would not know of the work of the American Indian artists about which they have written.

In addition to the dozen authors introduced to this point, there are a few dissertations listed (but not necessarily published) by “The Art Bulletin” that fall into the area of contemporary American Indian Art between 2002 and 2014. In the next section of this document are five tables that enumerate these dissertations.

Table 1 lists six dissertations in progress in the Contemporary Art category that include Native American art, but none were completed.

Table 1: College Art Association dissertations on contemporary art that include Native American art3:

Year: Completed: In Progress: 2013 0 0 2012 0 14 2011 0 2 2010 0 1 2009 0 1 2008 0 0 2007 0 0 2006 0 1 2005 0 0 2004 0 0 2003 0 0 2002 0 0

3 College Art Association, “Contemporary Art,” http://www.caareviews.org/category/7/dissertations (accessed October 5, 2014). 4 This dissertation is actually about indigenous art education, not the art itself. Dickenson, Rachelle, “A Question of Sovereignty: Indigenous Art Education in Canadian Universities” (York University, R. Hill) Aspensen 6

Table 2 lists seventy-four dissertations on Native American Art outside the context of contemporary art, including all forms of art not limited to visual representation

(e.g., dance and music are included), and most are not about contemporary art. Of those seventy-four dissertations, only fourteen were completed.

Table 2: College Art Association Dissertations on Native American Art outside the context of contemporary art, including all forms of art not limited to visual representation (e.g., dance and music are included), and most are not about contemporary art5:

Year: Completed: In Progress: 2013 1 4 2012 2 7 2011 1 10 2010 0 10 2009 0 7 2008 2 4 2007 1 5 2006 3 6 2005 1 7 2004 2 6 2003 1 5 2002 0 3

Table 3 lists five dissertations on Art of the United States outside the context of contemporary art or Native American art, which include Native American art, none of which are about contemporary Native American art. Of the five dissertations in progress, all were completed, plus one.

5 College Art Association, “Native American,” http://www.caareviews.org/category/21/dissertations (accessed October 5, 2014).

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Table 3: College Art Association Dissertations on Art of the United States outside the context of contemporary art or Native American art, which include Native American art, none of which are about contemporary Native American art6:

Year: Completed: In Progress: 2013 1 0 2012 0 0 2011 1 0 2010 0 0 2009 0 0 2008 2 1 2007 0 0 2006 1 1 2005 0 1 2004 1 1 2003 0 0 2002 0 1

Table 4 lists seven dissertations on Art of the twentieth century outside the context of Native American art, which include Native American art, and of which only six were completed.

Table 4: College Art Association Dissertations on Art of the twentieth century outside the context of Native American art, which include Native American art7:

Year: Completed: In Progress: 2013 1 1 2012 0 0

2011 1 0 2010 2 1 2009 0 1 2008 1 1 2007 1 0 2006 0 3 2005 1 0 2004 0 0 2003 0 0 2002 0 0

6 College Art Association, “Art of the United States,” http://www.caareviews.org/category/3/dissertations (accessed on October 5, 2014). 7 College Art Association, “Twentieth-Century Art,” http://www.caareviews.org/category/31/dissertations (accessed on October 5, 2014). Aspensen 8

Finally, Table 5 lists only “The Art Bulletin” issues with published articles about contemporary Native American art, or reviews of the same—zero articles on contemporary Native American art, or Native American art of any kind, and only one review of an article on Native American art.

Table 5: Art Bulletin Issues with Articles about Contemporary Native American Art or Reviews of the same8:

Issue: Articles: Reviews: September 20149 0 0 June 2014 0 0 March 2014 0 0 June 2013 0 0 March 2013 0 110 December 2012 0 0 September 2012 0 0 June 2012 0 0 March 2012 0 0 December 2011 0 0 September 2011 0 0 June 2011 0 0 March 2011 0 0

This is indicative of a relative vacuum in the world of art history where contemporary Native American art, or Native American art of any kind, is concerned.

The journal is dominated primarily by Greek, Roman, and European art, with the occasional foray to Asia or Africa. Even American art does not figure greatly in this journal.

8 http://www.collegeart.org/artbulletin/past (accessed October 5, 2014). 9 Although there are no articles on indigenous contemporary American art, there is one article on the state of the field that points out that the field of art history continues to exclude indigenous art. Interesting. Claudia Mattos, “Geography, Art History, and New Perspectives for an Inclusive Art History,” Art Bulletin 96, no. 3 (September 2014): 259-264. 10 Leo G. Mazow, "The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890-1915." Art Bulletin 95, no. 1 (March 2013): 169-171. Academic Search Complete, EBSCOhost (accessed October 5, 2014). Aspensen 9

There are other journals, of course; but I chose Art Bulletin, because it is the official publication of the College Art Association, and that is where academic art historians in the United States “live.”

Though I may have been the first to conduct such an enumerative study on the actual number of articles published on contemporary American Indian art in the premiere

American art history journal of scholarly works, I am not the first to notice the underrepresentation of such works. In “Geography, Art Theory, and New Perspectives for an Inclusive Art History,” Claudia Mattos makes this significant observation:

Who has the voice in art history today? Another important question also came to mind: Who has a voice in art history in Brazil today? The main narratives of art history in Brazil present the development of the arts in the country exclusively as a process of transference and adaptation of European models into local contexts.[4] Although Brazil is also the scene of many different traditions, especially of indigenous and African origin, these realities are incorporated only secondarily by art history as local elements that provoked occasional modification in the transplanted European models.[5] There is almost no effort to understand them in themselves, from within their own history, extending from the past into the present.11

Mattos is pointing out an issue of methods, and the way in which western traditions of doing art history are pervasive, and indigenous arts (perceived by traditional historians as “local elements”) are forced into that model, with detrimental results; or they are left out altogether because they do not fit. She goes on to say, “By insisting on the presentation of Brazilian art history exclusively from the point of view of the transference and adaptation of European art in the country, art historians continue to perpetuate discourses of Western colonial domination.[9].”12 She also criticizes the traditional methods of linear chronology, the separation of culturally diverse art history narratives from the central field of art history, and suggests, “To expand the cannon

11 Mattos, 262. 12 Ibid. Aspensen 10 means, therefore, to transform theory. I am very skeptical regarding recent attempts to develop a general theory of art and a unified methodology. The risk of imposing our own perception of the world on other traditions is too high.”13

It is significant that Mattos’ article appears in the most current Art Bulletin issue

(September 2014), and that she was invited to comment on these issues (which is why I have quoted her so heavily--her scholarship and observations are “hot off the press”). She comments on the potential significance of this, saying:

Living and working in “distant” Brazil, I was surprised to receive an invitation from the Art Bulletin, a journal that holds such a central position in the field, to share my perspectives on art history. Indeed, I considered what the invitation could mean. It probably signals that the field is becoming more inclusive and more global than ever before, but it also suggests that again, like the earlier artists, art historians situated at the center of the field are seeking new ideas outside the traditional boundaries of the discipline. Perhaps I would not have been asked to contribute if I were an academic in the United States or Europe.14

She could very well be right about the field becoming more inclusive, although it is interesting that she thinks she might not have been asked if she were an academic in the United States or Europe. With such a void in the area of Native American art, contemporary or otherwise, in “The Art Bulletin,” it seems that they might consider pulling from this burgeoning field of scholarship that most frequently finds safe harbor in anthropological journals, American Indian Quarterly, or American Quarterly.15 Perhaps it is true that no one is a prophet in his own land.

Alternatively, perhaps this could be viewed as a ripe field of opportunity for new explorations in art history, especially Native American art history. Considering that

Mattos’ observations are freshly published in the current issue of The Art Bulletin, for all

13 Ibid., 264. 14 Ibid., 259. 15 John Davis, “The End of the American Century: Current Scholarship on the Art of the United States,” The Art Bulletin 85 no. 3 (September 2003): Aspensen 11 we know there could be a mad scramble going on right now to fill the next issue with new contemporary American Indian art scholarship. One can hope.

Either way, there is an obvious gap in the scholarship where American Indian art history—contemporary or otherwise—is concerned. It would seem that an industrious academic in this field could surely find a way to fill that gap.

Aspensen 12

Bibliography of Various Publications on Contemporary Native American Art:

Abbott, Lawrence. I Stand in the Center of the Good: Interviews with Contemporary Native American Artists (American Indian Lives). Lincoln: University of Nebraska Press, 1994.

Anthes, Bill. Native Moderns: American Indian Painting 1940-1960. Durham, North Carolina: Duke University Press, 2006.

Berlo, Janet Catherine, and Ruth B. Phillips. Native North American Art. New York: Oxford University Press, 1998.

Center, American Indian Studies. Sharing a Heritage: American Indian Arts. Los Angeles: UCLA Publication Services, 1984.

David Revere McFadden, et al. Changing Hands: Art Without Reservation, 1 (Contemporary Native American Art From The Southwest). New York: Merrell Holberton, 2002.

Hutchinson, Elizabeth. The Indian Craze: Primitivism, Modernism, and Transculturation in American Art, 1890–1915 (Objects/Histories). Durham: Duke University Press Books, 2009.

Jacka, Jerry, and Lois Essary Jacka. Beyond Tradition: Contemporary Indian Art and Its Evolution. Hong Kong: Northland Publishing, 1994.

Man, Alfred Young. North American Indian Art: Its a Question of Integrity. Kamloops: Kamloops Art Gallery, 1998.

Mattos, Claudia. "Geography, Art Theory, and New Perspectives for an Inclusive Art History." Art Bulletin, 2014: 259-264.

Nancy Mithlo, et al. Manifestations: New Native Art Criticism. Santa Fe: Museum of Contemporary Native Arts, 2012.

National Museum of the American Indian, Smithsonian Institution. This Path We Travel: Celebrations of Contemporary Native American Creativity. Golden, Colorado: Fulcrum Publishing, 1994.

Penney, David W. North American Indian Art. New York: Thomas & Hudson world of art, 2004.

Ratcliff, Carter, and Paul Chaat Smith. Kindred Spirits: Native American Influences on 20th Century Art. New York: Peter Blum Edition, Blumarts Inc., 2011.

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Rushing III, W Jackson. Native American Art in the 20th Century. New York: Routledge, 1999.

Sims, Lowery Stokes. Indian not Indian. Munich: Prestel, 2008.

Touchette, Charleen. ndn art. Albuquerque, NM: Fine Art Publication, llc, 2003.

Wade, Edwin L, and Rennard Strickland. Magic Images: Contemporary Native American Art. Norman, Oklahoma: University of Oklahoma Press, 1981.

Disserations enumerated in the tables (listed by the CAA):

Artist Specific Dissertations on Contemporary Native American Art:

Benard, Paula Kerner. “Art Haungooah--Contemporary American Indian Potter: An Analysis of Traditional and Contemporary Attitudes.” M.A., California State University, Long Beach, 1982. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/303110042/ citation/3AE1A8CD041D470CPQ/3?accountid=28148.

Joni L. Murphy. “Beyond Sweetgrass: The Life and Art of Jaune Quick-to-See Smith.” Ph.D., University of Kansas, 2008. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304616143/ abstract/F8194DEEBA0D4DECPQ/178?accountid=28148.

Shope, Suzanne Alene. “American Indian Artist Angel DeCora: Aesthetics, Power, and Transcultural Pedagogy in the Progressive Era.” Ed.D., University of Montana, 2009. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304939740/ abstract/3AE1A8CD041D470CPQ/55?accountid=28148.

Dissertations on the Commodification of Contemporary Native American Art:

Gorman, Ellen. “‘Art Is Money-Sexy’: The Corporatization of Contemporary Art.” Ph.D., George Mason University, 2012. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/1022974998 /abstract/F8194DEEBA0D4DECPQ/175?accountid=28148.

Dissertations on Display, Collections and Collectors of Contemporary Native American Art:

Maruyama, Naho. “Experience of Producing Tourist Art among Native American Artists: A Qualitative Investigation.” M.S., San Jose State University, 2003. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/305225193/ abstract/F8194DEEBA0D4DECPQ/64?accountid=28148. Aspensen 14

Pitman, Catherine. “Other Art Histories: The Collecting of North American Aboriginal Contemporary Art by the Canadian Museum of Civilization and Its Implications for an Emergent Art History.” M.A., Queen’s University at Kingston (Canada), 1996. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/89212710/a bstract/F8194DEEBA0D4DECPQ/10?accountid=28148.

Yates Atkins, Gillian Kaye. “Ephemeral Installations: Contemporary Canadian Art in the Public Arena.” Ph.D., University of Toronto (Canada), 2007. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304754355/ abstract/3AE1A8CD041D470CPQ/107?accountid=28148.

Genre Specific Dissertations on Contemporary Native American Art:

Badoni, Georgina. “Native American Art and Visual Culture Education through Skateboards.” M.A., The University of Arizona, 2009. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304845148/ abstract/3AE1A8CD041D470CPQ/102?accountid=28148.

Ortiz, Beverly Ruth. “Contemporary California Indian Basketry: Practice, Meaning, Issues.” Ph.D., University of California, Berkeley, 2008. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304694214/ abstract/3AE1A8CD041D470CPQ/69?accountid=28148.

Peters, Stephanie. “Creating to Compete Juried Exhibitions of Native American Painting, 1946--1960.” M.A., Arizona State University, 2012. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/1013441373 /abstract/F8194DEEBA0D4DECPQ/35?accountid=28148.

Disserations on Intersectionality and Visual Culture in Contemporary Native American Art:

Larsen, Maria Cristina. “Christian Motifs in Pacific Northwest Coast Native American Art.” Master’s, University of Washington, 2013. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/1372853857 /abstract/F8194DEEBA0D4DECPQ/15?accountid=28148.

Walsh, Andrea Naomi. “Contemporary Aboriginal Art Texts: Intersections of Visual Culture.” Ph.D., York University (Canada), 2000. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304641459/ abstract/F8194DEEBA0D4DECPQ/245?accountid=28148.

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Region Specific Dissertations on Contemporary Native American Art:

Decker, Julie Michelle. “Contemporary Art of Alaska: Found and Assembled in Alaska, And, John Hoover: Art and Life.” Ph.D., Union Institute and University, 2002. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/305454823/ abstract/3AE1A8CD041D470CPQ/68?accountid=28148.

Milmine, Barbara E. “Art, Identity and Culture: The Politicization of Contemporary Northwest Coast First Nations Art.” M.A., University of Northern British Columbia (Canada), 2006. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304912545/ abstract/3AE1A8CD041D470CPQ/154?accountid=28148.

Rosenstein, Carole Elizabeth. “Forms of Belonging, Forms of Difference: Art, Ethnicity and Stratifications of Culture in Contemporary Santa Fe.” Ph.D., Brandeis University, 2000. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304585846/ abstract/3AE1A8CD041D470CPQ/43?accountid=28148.

Schwartz, Sher A. “Northwest Coast Native Art as a Reflection of Native and Non- Native Perspectives from the Eighteenth to the Twenty-First Century.” M.A., California State University, Dominguez Hills, 2002. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/305458505/ abstract/F8194DEEBA0D4DECPQ/80?accountid=28148.

Dissertations on Cultural Representation and Identity Politics in Contemporary Native American Art:

Cummings, Claire. “A Double-Edged Sword: The Representational Politics of Contemporary Aboriginal Art.” M.A., University of Calgary (Canada), 2011. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/878527999/ abstract/3AE1A8CD041D470CPQ/90?accountid=28148.

Kaufmann, Laurel Jeanne. “Creation of an Identity: American Indian Protest Art.” M.A., The University of Arizona, 1993. Aspensen 16

http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304032034/ abstract/3AE1A8CD041D470CPQ/28?accountid=28148.

Longman, Mary Aski-piyesiwiskwew. “Challenging the Ideology of Representation: Contemporary First Nations Art in Canada.” Ph.D., University of Victoria (Canada), 2006. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304984337/ abstract/3AE1A8CD041D470CPQ/187?accountid=28148.

Menon, Rekha Telakat. “Ashamed of Our Nakedness: Is There Ever a Naked Body? Ambivalence in Contemporary Indian Expressive Aesthetics.” Ph.D., State University of New York at Binghamton, 2001. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304760370/ abstract/3AE1A8CD041D470CPQ/85?accountid=28148.

Morris, Katherine L. “Picturing Sovereignty: Land and Identity in Contemporary Native American Art.” Ph.D., Columbia University, 2001. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304687694/ abstract/F8194DEEBA0D4DECPQ/3?accountid=28148.

Dissertations on Contemporary Native American Art that Attempt to Shake up the Field of Art History:

Cluff, Leah Diane. “Making History: The Role of History in Contemporary Native American Art.” Ph.D., University of California, San Diego, 2013. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/1413325071 /abstract/F8194DEEBA0D4DECPQ/2?accountid=28148.

Douglas, Susan Jane. “Contingencies: Visualizing Tensions between Contemporary Critical Theory and Canadian Art Practice.” Ph.D., Concordia University (Canada), 1998. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304453232/ abstract/3AE1A8CD041D470CPQ/166?accountid=28148.

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Firstenberg, Lauri Michelle. “Against the Archive: Toward Indeterminacy and the Internationalization of Contemporary Art.” Ph.D., Harvard University, 2005. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/305001408/ abstract/3AE1A8CD041D470CPQ/88?accountid=28148.

Heap of Birds, Shanna Ketchum. “Locating the Native Artist: Memory and Transformation in Contemporary Artworks.” M.A., The University of New Mexico, 2007. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304841433/ abstract/3AE1A8CD041D470CPQ/248?accountid=28148.

Zeller, Susan Kennedy. “Contemporary Aboriginal Art, 1948--2000: Constructing the Canon.” Ph.D., Columbia University, 2002. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/251805029/ abstract/3AE1A8CD041D470CPQ/141?accountid=28148.

Tribe Specific Dissertations on Contemporary Native American Art:

Bagg, Shannon. “Artists, Art Historians, and the Value of Contemporary Inuit Art.” Ph.D., Queen’s University at Kingston (Canada), 2006. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/304972752/ abstract/3AE1A8CD041D470CPQ/82?accountid=28148.

GOLL, JANET JUNE WILSON. “Contemporary Navajo Weaving: A Native Craft Industry in Transition (textile, Indian, Arizona, Rug, New Mexico, Blanket).” Ph.D., The Ohio State University, 1986. http://search.proquest.com.proxybz.lib.montana.edu/pqdtft/docview/303510116/ abstract/F8194DEEBA0D4DECPQ/187?accountid=28148.